B E Y O N D

A journey of my theory of architecture. MY blog. Mei Yin's blog.

P06: An Architecture of Seven Senses

'The taste of the apple...lies in the contact of the fruit with the palate...not in the fruit itself; in a similar way...poetry lies in the meeting of the poem and reader...not in the lines of symbols printed on the pages of a book.'
- Jorge Luis Borges

*i like this :)

From the article, Architecture is closely related to the seven senses which including; 'Acoustic Intimacy', 'Silence, Time & Solitude', 'Space of Scent', 'The Shape of Touch', 'Images of Muscle & Bones', 'Bodily Identification', and 'Taste of Architecture'.

At the beginning of the article, the author talked about the losing of plasticity on architecture because instead of putting ourselves in the world, we often capture the world using camera lenses as if we are spectators from outside. By doing this, we tend to lose connection with the language and wisdom of the structure and as an result, they become isolated and distance was created between human and architecture. Compared with the materials used today which most of them are glass, metal and plaster, the use of stone, brick and wood allowed us to see the expression of age, history, tale of its birth and human use through senses of hear, see, touch, smell and taste.

Acoustic Intimacy
Hearing creates a sense of connection and solidarity between human and architecture. Every building or space has its own characteristic sound of intimacy or monumentality, rejection or invitation, hospitality and hostility. From the example given; the gaze wanders lonesomely in the dark depths of a cathedral but the sound of the organ makes us realize out affinity with the space, it shows that hearing brings us closer to architecture and space by attaching us either by memory or the feeling it gives. I can still remember how it sounds like when we went to the bird park. The sound of birds chirping make us feel like we are part of them too and we started to imitate their sounds. Even with our eyes closed, we can feel the affinity with the space and the connection between human and nature.

Silence, Time and Solitude
According to the author, the most essential auditory experience created by architecture is tranquillity where architecture presents the drama of construction in silence into matter and space, and the building becomes a space of waiting, waiting patiently in silence. For example, the silence of Pharaohs inside the Pyramids. Architecture; buildings and cities are the museum of time, they enable us to see and understand the passing of history in silence mode. It allows us to experience the slow, firm flow of time and tradition. The time of architecture is a detained time, in the greatest of buildings time stands firmly still.
I agree with the thought of 'experiencing a work of art is a private dialogue between the work and the viewer that excludes other interactions' because i do believe that the art or building itself will be able to speak for itself through how the viewer perceive the art or building. The interaction between human and art is silence but the understanding or dialogue is there, between them.

Space of Scent
In this part of article, the author talked about a few examples of how odor of a particular place can brings memory that have been forgotten and imagination of the atmosphere or feeling that odor gives. From the example of the author; 'I cannot remember the appearance of the door to my grandfather's farm-house from my early childhood but i do remember the resistance of its weight, the patina of its wood surface scarred by a half century of use and i recall especially the scent of home that hit my face as an invisible wall behind the door.' This shows that how important it is that the scent actually brings back the memory of how his grandfather's house looked like. For my own experience, the scent of traditional Chinese medicine which made from herbs really left a strong impression on my memory especially when we pass by the traditional Chinese shops, the smell of herbs reminds me of how the kitchen of my grandmother's kitchen smells like as she used to make the herbs herself. This leads to my imagination of the bitterness of the herbs.

The Shape of Touch
The skin reads the texture, weight, density and temperature of matter. The sense of touch connect us by seducing the stroking of our hands. Besides hands, eye also touches. Through touches, for example, standing barefoot on a smooth glacial rock by sea at sunset and sensing through one's soles the warmth of the stone heated by the sun gives a feeling connection between human and nature and one can sense the slow breathing of earth. Great architecture offers shapes and surfaces molded for the pleasure touch of the eye. For example, deep shadows and darkness are essential because they dim the sharpness of vision and invite the unconscious peripheral vision and tactile fantasy. Eye is the sense of separation and distance where touch is the sense of nearness, intimacy and affection. This can be further explained that during overpowering emotional states we tend to close our eyes, the distancing sense of vision when caressing our loved ones.

Images of Muscle and Bone
During the older time, builders used to use their own body as a measurement tool to build buildings. Hence, every part of the building are well related to our body. For example, stepping stones set in the grass of a garden are images and imprints of human steps. As we open the door, our body weight meets the weight of the door, our legs measure the steps as we ascend a stair, our hand strokes the handrail and our entire body moves diagonally and dramatically through spaces. Authentic architectural experiences consist of approaching or confronting a building rather than the facade of the act of entering rather than the frame of door itself. This can be support by the statement of we behold, touch, listen and measure the world with our entire bodily existence and the experiential world is organized and articulated around the center of the body. I am the space, where i am - Noel Arnaud.

Bodily Identification
The encounter of any work of art implies a bodily interaction. Meaning, our body is able to interact with the environment and therefore, gives different signals to our mind how does it feels like. Similarly, an architect internalizes a building in his body, movement, balance, distance and scale are felt unconsciously through the body as tension in the muscular system and in the position of skeleton and inner organs. Understanding architectural scale implies the unconscious measuring of an object or a building with one's body and projecting one's bodily scheme on the space. We can feel pleasure and protection when the body discovers its resonance in space; as i have mentioned earlier, body interacts with environment. As we experiencing a structure, we tend to recognize its composition using our body unconsciously.

Taste of Architecture
Vision, touch and smell are closely related to taste as we tend to imagine the taste of certain thing based on the texture, the appearance and the smell. As i have mentioned earlier, the smell of traditional Chinese herbs make me think of the bitterness of it. This shows that we cant really separate between smell and taste as they are actually linked. From the article, the senses of all are interacting with each other in our life, architecturally.

Conclusion, all experience from touch, see, smell, hear and taste are able to imply the act of recollecting, remembering and comparing. An embodied memory has an essential role as the basis of remembering a space or place. We identify ourselves with the space, that moment and those dimensions as they become ingredients of our very existence. Architecture is the art of mediation and reconciliation.

Yet Another Day ; Monday, July 19, 2010

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P05: Monuments, Testimony & Memory

Jewish Museum or Between The Line as preferred by Daniel Libeskind, which he described the project was about two lines of thinking, organization and relationship. One is a straight line but broken into many fragments, the other is a tortuous line but continuing indefinitely. There are three basic ideas that formed the foundation for the museum design. Firstly, the impossibility of understanding the history of Berlin without understanding the enormous intellectual, economic and cultural contribution made by Jewish citizens of Berlin. Secondly, the necessity of integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city of Berlin and lastly, that only through the acknowledgment and incorporation of this erasure and void of Jewish line in Berlin, can the history of Berlin and Europe have a human future.
Besides the three ideas, there are also three aspects that Daniel Libeskind implemented in his design of Jewish museum. Firstly, the invisible and irrationally connected star which shines with absent light of individual address. Secondly, the cutoff of Act 2 of Moses and Aaron which culminates with the not musical fulfillment of the word. Thirdly, the everpresent dimension of the deported and missing Berliners and lastly, Walter Benjamin's urban apocalypse along the One Way Street. These can be further explain as; firstly, Daniel Libeskind felt that in the actual visible site, there was an invisible matrix of connections, a connections of relationship between Germans and Jews, crossing of German culture and Jewish tradition. Secondly, the music of Schonberg which he got interested with in particular period in Berlin. Due to the logic of libretto, his greatest work, 'Moses and Aaron' could not be completed. At the end, Moses speaks 'Oh word, thou word' which addressing the absence of word where he couldn't sing. Third aspect was his interest of the names of those who deported from Berlin during the Holocaust. And lastly, Walter Benjamin's 'One Way Street' that incorporate into continuous sequence of 60 sections along the zigzag, each represent the 'Stations of the Star'.

The positioning of windows in the museum was based on the precise matrix where Daniel Libeskind plotted the addresses of prominent Jewish and German citizens on a map of pre-war Berlin and joined the points to form an 'irrational and invisible matrix'. From that matrix, resulting the positioning of windows are primarily narrow slits, barely enable apparent to the observer from outside or inside of the building. Besides, the whole building is coated with zinc which has a long tradition in Berlin's architectural history.

The intersections of the first line which winding with several kinks and second line which cut through the whole building created 'voids'. Voids, where the action of cutting through the form of museum represent the central structural elements of the connections between new and old buildings. Israeli artist, Menashe Kadishman's steel sculpture, 'Shalechet' which means fallen leaves covers the entire floor of one of the the five voids. The intention of putting Shalechet on the entire floor can be explain through: "Shalechet" (Fallen Leaves) is constituted by a very large number of heavy, circular-shaped, iron disks forged into the semblance of a frantic screaming face. The disks are scattered over almost the whole surface of the gallery floor and the visitor is asked to tread them. This difficult walking exercise provokes a profound feeling of uneasiness since not only is it hard to keep one's balance, one is also unconsciously reluctant to trample a work of art which, in addition, represents such painful feelings. Whether knowingly or not - by his desire to make us experience an uneasiness which is a metaphor for the emotional turmoil that seizes a concerned person when reminded of the tragedy of the Shoah (Holocaust). In fact his seemingly boundless bed of "shalechet" [the Hebrew one-word term for 'fallen' or `dead leaves') cannot fail to dramatically evoke the powerless victims of this appalling calamity. Hence, what we are actually asked to do is not merely to walk on a carpet of metallic human leaves, but to walk out of the question "where were we when all this happened?" The association of the leaves to the persons occurs all the more naturally since it is an age-old identification. The leaf, as is the case for vegetation in general, stands in fact for a cyclic transformation and for the seasonal character of time and life. Like mythical land biblical) mankind, the leaf originates from mother earth and hence has often been assimilated to man, as in the poignant, four-verse poem 4 written in the trenches of World War l - entitled "Soldiers," where Giuseppe Ungaretti made his striking association; "We are like leaves on the trees in autumn."
(source: http://www.kadishman.com/works/shalechet/Articles/Arturo_Schwartz/)

This is my favorite part of Jewish museum. The action of stepping on the shalechet makes me feel like there is actually people who got stepped but not the metal sheets. With the facial kind of shape on the shalechet, it tends to make me imagine people stepping on people and how they feel when got stepped. That is why in my sketching, there are different facial expression representing the shalechet. When people walking on top of the metal sheet, they feel unstable. It makes me wondering, is that how it feels like during that time, people who stepping on others feeling unstable, insecure too? Or are they too cruel and emotionless to feel the pain and suffers of others? The architect is trying to bring back the memory of Jews to the people and i think, he make it a successful one.

Underground passage way linked between old building and new building where the museum has no official entrance. Visitors are required to pass through the passage way which starts from the old building in order to go to the museum. There are three axes where each represents different pathway to different space. The first and longest axe is the 'Axis of Continuity' which connects old building with the main staircase which leads to the exhibition levels. Daniel Libeskind describes this axe as the continuation of Berlin's history, the connecting path from which the other axes branch off. The second axe is the 'Axis of Emigration' which leads outside to daylight and the 'Garden of Exile' where the garden represents a shipwreck of history that attempts to completely disorientate the visitor. In the garden, 49 concrete columns rise out of the square plot and Russian olive grows on top on the columns symbolizing hopes. The 'Axis of Holocaust' is a dead end where it becomes ever narrower and darker and ends at the Holocaust Tower. The glass cases on the way display documents and personal possessions testifying to the demise.
All three of the underground axes intersect, symbolizing the connection between the three realities of Jewish life in Germany.

As for local examples of commemorate the dead, the National Monument (Tugu Negara) portraying the sculpture that commemorates those who died in the Malaysia's struggle for freedom against Japanese occupation during World War I and Malayan Emergency. There are seven figures which each symbolizing; leadership, suffering, unity, vigilance, strength, courage and sacrifice. Besides the monument, the compound also fitted with fountains, pavilion, war memorial and garden.

Second example is the Heroes' Mausoleum (Makam Pahlawan) which housed the bodies of Malaysia's leaders and politicians. It is located near the National Mosque and is a 7-pointed star concrete roofed structure.

National Museum (Muzium Negara) which located at Jalan Damansara is the third example of how Malaysian commemorate the dead. National museum is a palatial structure built in the style of Rumah Gadang, an aspect of Minangkabau architecture. Its facade comprises elements of traditional Malay and modern features. It serves as a repository of Malaysia’s rich cultural and historical heritage. Displays and exhibits in the museum focus on local history, culture and traditions, arts and crafts, economic activities, local flora and fauna, weapons and currency. The museum houses various galleries, each with its own theme. The ground floor showcases the geographic and natural history of the Malay peninsula starting with the Stone Age, the Bronze Age and the Iron Age. The proto-Malay states of Gangga Negara and Majapahit are referenced, as well as the later Muslim Sultanate of Malacca and the various states of Malaysia. The second floor is dedicated to the colonial history leading all the way to Independence. Exhibited are copies of the royal headgear of Malay rulers. Other galleries include the National Sports Gallery and the Natural History Gallery. In the vicinity of the museum building, there are a number of outdoor displays of transportation in Malaysia, past and present. An interesting exhibit is the Melaka Bullock Cart which closely resembles the early American horse-drawn wagon. Of unparalleled interest are the Steam Locomotive made by Kitson & Co, England, which was put into service in 1921 until it ceased operation in 1969. It covered 1.5 million rail miles; a Tin Dredge which resembles a floating factory, on a natural or artificial lake. A major achievement of Malaysia is the manufacture of the first national car – the Proton Saga 1.3 litre, on April 18, 1985. Muzium Negara also holds regular thematic exhibitions featuring specific aspects of life and world culture. (source: http://en.wikipedia.org/wiki/National_Museum_%28Malaysia%29)

Comparing the Jewish Museum and National Monument, Heroes' Mausoleum or National Museum in Malaysia, there are obvious differences that we can recognize easily, first of all, Jewish Museum is honoring the victims of Holocaust instead of the warriors as what we can see from local example where leaders or warriors are commemorated using figures or specially built burial place. Besides, the interpretation of buildings in terms of design plays an important role in commemorate the dead by understanding the relationship between architecture and history. As from what we can see through local examples, building forms are mostly derived from the historical architectural style which resembles the background of the architectural history but not the background of how the country first obtain its independence from Japan or freedom from Malayan Emergency. Most importantly, the feeling of visitors within that building. Can they feel the same as what those leaders that sacrificed their lives felt during that period? Or can they know the historical elements or history by just observing the building forms but not through documents and artifacts that speak the truth easily?

These can be further explain that, i think Malaysia's National Museum, National Monuments or Heroes' Mausoleum did not interpret the meaning of 'commemorate the dead' well through architecture. This is because, mostly we get to know the history by reading the documents or explanation provided along the exhibition area but not from the form of building or the space within it as what Daniel Libeskind did on Jewish Museum where the building speaks for itself. It there is no explanation, we barely know what is the building form trying to send us the message from the past. Unlike Jewish Museum, every single part of it was created just to let the visitors to feel the emotions or feelings during that periods where we can actually imagine the real situation by just walking within the created space. A very good example is the used of Salechet to shows the faces of the Holocaust's victims. I do believe that Jewish Museum managed to commemorate the dead by just the building forms where Daniel Libeskind incorporated the history and architecture.

In my opinion, heroes of Malaysia can be best commemorated by incorporating history and architecture as what Jewish Museum did. It is best where visitors can actually feel and imagine the situation during that period from what they see, touch and listen physically and emotionally. Let the building speaks for itself. In addition, heroes of Malaysia can also be commemorate where we can actually experience what they have gone through during that period. It can be a 'time machine' where visitors were brought back to that particular period where everything surrounding are no longer familiar to them and back to the pass. This can eventually boost the imagination of visitors and they will think they are actually experiencing the incident with our heroes.

In conclusion, i think history and architecture can't be separated. By preserving the history and cultural through architecture, we get to know the situation of that period and hence, we appreciate what our heroes did and will be to commemorate them the best by not repeating the mistakes.

Yet Another Day ; Monday, July 12, 2010

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P04: Remembering the Home

As what i can understand from the essay, Mies was eventually influenced by the 1:1 canvas model that affected the entire architectural style with the invention of tectonics of disappearance, dissolution and floating which he made history.

I do believed that childhood played an important role in our life. It may affect our perception of life and hence, it brings us to get through our life with what have we gone through during the past. Similarly to Mies, Ar. Lok Wooi's architectural style of using mostly timber for his design is also influenced by his childhood life where he used to lived in a 'kampung' when he was younger. According to an interview by The Star, he stated that: "I had a happy childhood living amidst nature in a Malay village. To me, the crude bricks, concrete beams and terrazzo flooring are beautiful in their unique textures and patterns. These bits of nature are imperfect and irregular – they are a diversity coming together to form a house. Don’t you think this resembles what Malaysia is?" (source: http://thestar.com.my/lifestyle/story.asp?file=/2006/2/5/lifeliving/13247997&sec=lifeliving)

For me, the memories of my childhood is the most favorable memory that i would like to treasure. Same as most Malaysians, i grew up staying in a storey house which actually facing a really huge field that equipped with playground where i spent most of my time during my younger time. It is not the material or style of the house that give the strong influences on me but the feeling of home and the surrounding environment which made up the whole neighborhood :)

The huge field, the market and 'kopitiam' nearby, the kindergarten at the same row of houses, the neighbors, the people, the air, the sky and the most importantly; the family members. These elements that we often neglected, are those that influenced our life the most but we just don't realize.

In front of my house, there's a huge Christmas tree and it's real, opposite, there is a huge field as i mentioned earlier. This, actually influenced me of how i would to like to arrange/decorate the space given when designing. As you can see from my previous design projects if you did, greenery scene is what i always wanted to create for my clients because i believe that this scene can bring people closer to nature as how it did during my childhood.

The arrangement of space which i think, i always create spaces that linked to each other. This is strongly influenced by the surroundings of my house. Storey houses are houses that linked to each other and therefore, relationship between neighborhood is built. Neighbors of mine are nice especially when they bring us food during festival as different races of them would bring different type of food. Other than festival period, they are kind too!

Most importantly, i think; a house should be able to bring family members together. For me, a house is not a home when there's no love within family members. It is not about the materials, not about the cost, and even not about how big the place is. What i have mentioned above is the house that i stayed previously before i moved to my current house. Neither it was big nor it was luxurious but it was warm. The space inside was sufficient enough for five of us to stay closer to each other which i liked the most. The surroundings were suit enough for three of us to grow in. Although i have moved to a bigger house which i looked forward during younger time but i found out that the feeling of home is not longer there. I missed my home. The home that we stayed closer and shared with each other.

I think, the feeling of unite influenced me a lot in terms of choosing form while designing. As i observed on my previous projects, i tend to chose circle instead of square or triangle because circle represent unite. For me, circle connects everyone inside the line; similarly to a fort that protects its people inside. Circle gives a feeling of unite, bringing people closer to each other. And from what i have gone through, i strongly agree that; a home is where the heart is. Therefore, in order to capture the 'heart', a house must be equip with the elements that can make the house warm, warmness within the heart and the environment.

Yet Another Day ; Monday, July 05, 2010

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